This exhibition reflects the landscape of Gallipoli today – a memorial and historical park wherein lie the bones of over 130,000 men who fought the Australian and New Zealand Campaign against the Turks during WWI, which began on Anzac Cove on April 25 1915.

Each painting contains an element of the landscape at Gallipoli, the history and memory recorded in these visible and invisible waters, woods and rocks found within this place and so these works can be interpreted as an alternative narrative for the ANZAC myth.

The artist, Kym Morris, has also been influenced by her own Jewish heritage, as these paintings are intended to echo the Jewish religious practice in which God is asked to remember the soul of the deceased. The person reciting the prayer offers to give charity on the deceased's behalf, redeeming their soul and binding its place in the Garden of Eden with its family ancestors. This ritual observance is Yizkor. The central part of Yizkor is a single paragraph beginning Yizkor elohim (may God remember).

One of the material representations of Yizkor in the twentieth century was the creation of Memorial Books. Jewish mourning literature is evident in biblical times and in modern Yiddish literature but has flourished in the period following the European Holocaust. Developed by survivors of the Holocaust, these books are the guardian of the cultural memory of a place and its people. Typically they open with a frontispiece containing symbols of mourning and the content information about the community – as it was before the Holocaust, as it is at the time of writing and, for some, what it might be in future. The stories in these books are survivor tales of the people who lived there, a history of their community and town and, the Necrology, the list of the names of the dead.

The first painting of Morris’ trilogy “arrive, depart” is based on the water element and represents the arrival and departure point of the Australian troops at Gallipoli – the waters of Anzac Cove. It is the Yizkor chapter telling the story of people. The words of the soldiers while at Gallipoli and as published in the Anzac Book have been torn from a 1916 edition and collaged into the water images – last words drowned, drifting and lost in the quiet depths.

The second work, “endure”, tells the story of place – the Sphinx, a rocky outcrop overlooking Anzac Cove, and the trenches and tunnels carved into the landscape, offering protection and concealment. The closeness and limited movement within this actual physical place fostered the spread of disease and added to the discomfort of the troops when stationed there. The element of rock via cliffs is what confronted the Australian troops as they came ashore and scrambled up the nearby slopes to take the ridges.

In the final piece of this trilogy "abide", the artist plays on the meaning of this title in two languages, in English it means to dwell or rest and in Turkish it is a monument to the dead, which is what this landscape has now become. The necrology - the names and memorials of the dead, are suggested in this painting using the landscape element of wood.Trees historically have a long association as symbols of knowledge and the cycle of life. The Lone Pine is represented within this image, which has become the symbol of the Australian soldiers lost at Gallipoli, is represented within this image where one of its cousins now grows in the grounds of the Australian War Memorial in Canberra. Other historical associations with trees referenced within this work are, the Judas tree flowering purple, a symbol of betrayal and the Cypress pine which have long been associated with cemeteries and mourning for all those who are remembered at Gallipoli.